This is especially pronounced now that we can all knock up a song and publish it in an afternoon: it may not be great, but it can at least sound like now.
It’s odd that, in musical circles, the act of sounding similar to other artists is not only wholly acceptable, but overwhelmingly encouraged.
It’s the ‘if you like that, you’ll also like this’ attitude that both slows music’s progression down whilst, perversely, speeding up its evolution.
So if Colestock’s music sounds slightly familiar, it’s OK: that’s the point. The important thing is that it also twists the parameters just daintily enough to be different, to hold the attention, to scratch an itch.
Lowdown is a minor oddity: breezy and poppy, lo-fi and crackling, shallow and labyrinthine. It folds and coils, and doubles back, and yet is as light as a feather. Indeed, odd.
But this is fine – because it is close to what I’d hope a song of the moment would sound like, and yet is lounge enough to be compelling. Curious.